Mezzo-soprano Margaret Lattimore sang her “Urlicht” text in the fourth movement with rich, creamy tones...
The Orange County Register
Margaret Lattimore was a clean, silvery Jocasta, firm and clear of tone...
The Washington Post
Despite the unquestioned excellence of the principal performers, mezzo Margaret Lattimore all but walked away with the show (Dead Man Walking) as Joseph’s mother, Mrs. Patrick De Rocher. Lattimore’s extended scene as she pleads with the pardon board for her son’s life, is one of the strongest musical moments in the opera. Lattimore galvanized the audience with her heart-rending portrayal and rich vocalism.
...Star billing, if any is to be cited, would have to go to mezzo Margaret Lattimore, who, in her limited role as DeRocher’s mother (Dead Man Walking), has the two arias that best fit the conventional definition of the word. “Gut-wrenching” is the description that comes most readily to mind...... Lattimore delivers a powerful presentation if ever there was one.
The New Orleans Advocate
“Margaret Lattimore, an alumnus of the Met’s Lindemann Young Artist Development Program, has been among the most reliably characterful singers on the Met stage since she returned to the company for featured roles in 2012, after a decade’s absence. Lattimore’s well-voiced, barrelhouse-mezzo Mother Goose, demure in ringlets with a man-compromising amble, made the impact this tricky part sometimes misses.”
"The most ravishing tone came from mezzo Margaret Lattimore, who sang with her familiar musicality and with a large, deep, and opulent sound. Hers was the only tragic aria of the opera, and with it she stopped time."
The Boston Globe
“Margaret Lattimore, …”brought an auburn glow to the part of Mother Goose.”
The New York Times
"On this occasion, (As Mrs. Patrick DeRocher Dead Man Walking) Ms. Lattimore brought seamless beauty to her singing and elicited wondrous empathy for her plight.”
Margaret Lattimore was heartbreaking in Mrs. De Rocher’s plea of “Don’t kill my Joe.”
“Margaret Lattimore stood out for her plus, velvety sound in her appearance as Antonia’s Mother.”
The New Classical Review
“Margaret Lattimore was luxury casting in the role Ragonde, her plummy mezzo as rich as chocolate mousse. An added bonus is that Ms. Lattimore perfectly tuned comic timing and her subtle bits of registering dismay never failed to elicit a laugh.”
"Margaret Lattimore, touched the soul of what she sang in Handel's high-rhetoric recitatives, which she sings better than most anybody."
"Mezzo-soprano Margaret Lattimore's vocals were distinguished by her rare intensity, gleamingly pure tone and strong dramatic instincts."
"Sister Helen is the opera's charismatic center, on stage for nearly the entire two acts. And Margaret Lattimore positively blazed with intensity in the role, her lovely timbre full of emotion.
The Austin American Statesman
“The principal bright spot was the remarkable performance of Margaret Lattimore, as Octavian. Combining exceptional vocalism with natural acting and superb theatrical instincts the young mezzo was terrific, pulling off a difficult role without striking a single false note. The singer suggests a young Frederica von Stade in her dazzling smile, fulsomevoice and charismatic stage presence. Lattimore inhabited Octavian completely, rendering the restless impetuosity of the Marschallin’s teenage lover, pulling off the gender switch masquerade as Mariandel in flat tones that remained humorous without being overdone, and in general giving this wayward production its finest moments.”